Exhibitors Herald and Moving Picture World (Apr-Jun 1930)

I ny 10, 1930 Exhibitors Herald-World 23 Right: Design by the author for a theitre-commercial building, employing a ower to distinguish the theatre portion. n v in use in theatre design — Renaistice and Moderne — the former waning r popularity, and the latter just coming rb its own in America. Renaissance n designs employing the ornament l;ing back to the days of Louis XIV, iuctural members are covered, rather tin emphasized. The age just precedthe creation of this mass of elabo;e detail had been one of religious i erity. Swinging like a pendulum to h opposite extreme, the taste of the ers introduced a movement in archiiture which was filled with devices to kle the eye, and to set the people free un serious contemplation. One might form a hasty conclusion it such a type of ornament and design uld be highly fitting and of lasting ue in theatrical architecture, due to very nature and origin. However, as e critic describes them, our picture fises have become “regal love-nests” d the sweetness of Renaissance design 's been impressed on us to the point surfeit. Contrasting strangly with this wealth rich embellishment comes the style led “Moderne,” still suffering with cruciating growing pains in its strivy for something new, almost stark in simplicity. Moderne Originating in Europe many years o, it has at last reached America, and r architects are beginning to learn ew how to paint with light and shadr, depending on line, scale and mass r effect. Such ornament as is used )ssoms naturally from the design, the minant features being composed of buttresses and piers, with emphasis on perpendicular lines in exterior designs. Compared with the overloaded theatres of the past, the moderne design has all the quiet refinement of the aristocrat in contrast with the gaudy show of the nouveau riche. With the new moderne art depending so largely on light and shadow for its beauty, color lighting gains added interest in theatrical design. Exterior color lighting enjoyed a short period of popularity in certain localities a few years ago, but in the rush for spectacular theatre interiors, this feature of exterior planning was largely neglected, as were various other factors governing the design of the front. The growing popularity of the new systems of interior color illumination, known as third dimension lighting, Colorama, Lumitone, and various other names, will bring about an added benefit if it reawakens an interest in exterior lighting. Both electric and neon gas lights offer great possibilities in waves of blended color, patterns and the picking out of special features with spot and flood lights. Owners of office buildings, apartment houses and stores have learned and are utilizing the beauty of exterior color lighting. A good-sized theatre uses a heavier electrical current than the combined commercial enterprises of a business district of several blocks and it should lead the way in employing this power to make its street front the most beautiful spot in the neighborhood. People, like moths, are attracted by light, cheeriness and an inviting atmosphere. Electricity is one of the exhibitor’s most powerful allies in attracting patronage. Certain materials adapt themselves ( Continued on page 63) Left: A theatre differentiated architecturally from the rest of the building:, yet blending with it basically, as exemplified in this design by Mr. Boiler for a theatre-department store structure.